Month: August 2012

When looking through your online galleries, it becomes readily apparent that you are fairly familiar working with multiple-painting series. Is this an approach born from needing more than one piece to flash out an idea, or is it something you picked up in your formal training?

This really made me think. In college they really push you to develop a body of work around a concept. I’ve seen great shows where the cohesive element might have been style and technique more so than an overlapping idea. A lot of my work comes from research and introspection so sometimes I need a few pieces to work it out or the idea becomes more clear during the process so I have to go back and edit. My uncle took me with him a lot when he was running installation crews when he was a kid and installation work was the big thing back then. A lot of that vein is meant for museums or galleries, not really something many people would buy. He taught me to understand that a lot of art is problem solving or philosophy. College helped with that too. I don’t like Kandinsky but I can appreciate what he was trying to say. Having said all that I admire artists that produce for the sake of producing as well. Sometimes it’s great to develop a whole sleeve for someone, and sometimes it’s fun to do a 3 hour burner from start to finish just to enjoy it too.

Id say one clear common thread in many of your series and individual paintings is the idea of a blasted world-one where possibly cults have risen to rush the survivors and governments have come to show their true corruptness openly. Do you have any particular fascination with the occult, or cults, and what staements are you making about a society whose underbelly you portray as rotten and corrupt?

The whole idea of the H.A.V.EN project is something I’ve been working on for years and it’s what I chose to do my BFA thesis on so it’s definitely the most research I’ve done for a series. I’m stepping back from it for a while because I scratched that itch for now but Im sure I’ll come back to it in the future. I definitely picked something I’m interested in but some of this work, and some of the other work that include similar themes, are more autobiographical than they look on surface. I went to catholic school as a kid and have struggled with where I stand with that ever since. That created a lot of my interest in the occult and religious subject matter as well as symbolism. I don’t hate religion or people with faith, I actually prefer to look for the similarities and try to carve out an idea from that. I’m more interested in the historical side than the spiritual. Tattooing has given me a strong fascination with symbolism as well. I also grew up around a lot of fantasy, science fiction and horror and I love rock and roll so those things creep in sometimes. I hope the apocalyptic stuff has an educational quality to it. The idea was to invent a cult and produce propaganda for it using historically tested methods. It’s more about the recipe for propaganda than the end of days for me.

I sense a bit of salvation when i look at the children in your pieces.. Possibly a bit of your own personal feelings on how children may offer some sort of salvation. Am i way off on this?

I do believe we can change the world by the way we raise our children. The kids in the haven series are more about sinister brainwashing than salvation on the surface but whatever you bring to viewing a work of art becomes a part of it. Maybe your on to something deeper that I missed.

I know you have been involvedin quite a few public works projects over the yeares, and clearly you arent being asked to duplicate your regular fare. How do you approach such projects, and do you see it as lessening your art in any way to paint such contrary imagery?

Great question. I think being multi-faceted as an artist is ok as long as you believe in the project. I got into murals because I was encouraged by someone I have great respect for to give it a try. I didn’t have much interest in it until I learned about some of the tradition behind it and artists like the “tres grandes” who were carving out a take on an art form that is one of the first records of humanity. I have only painted a handful of murals and they were all collaborations which I really enjoy and a chance to work with people i respect. I don’t hunt down projects often, I have been lucky to have some offered to me and recently was put on a committee for a huge project at Redline gallery that I’m excited about. It’s another great opportunity to work with kids and people who continue to teach me about art like Carlos Fresquez. I have always used brushes as that was the way I was taught and I have met a great community as well as learned a tremendous amount. I like the collaborative aspect and I think it’s fun to take someones idea and produce something for them. Tattooing is the same way. People give you some creative control but often you are still producing something that helps them express themselves. The more experience I get the more personal expression seems to come with the project. I admire artists that either are asked to paint whatever they want or don’t bother with permission but for now if I can work outside with people I respect for a good cause I’m a happy guy.

Youve been teaching art to many “at risk” kids. How has that experience been for you? Has it changes how you approach art?

Teaching changed my life more than I can say. Just to get the chance was an honor. I have been at a High School in boulder for about 3 years now. I didn’t expect to love it as much as I do. I learn more from them and the rest of the staff than I teach them. The first thing I learned is that I don’t like the “at risk” label much. Every kid is at risk. I had a good home, problems like everyone else but I wasn’t getting my ass kicked or starving, shit I went to catholic elementary school for free because my mom taught there, she was the only real catholic in the family as far as I remember. I think teaching has changed more about how I approach life than art. Its a different trip, there are definitely things I don’t put on my website and a big part of my lack of Facebook because it’s a different world . I’m no saint and part of it is just growing up and realizing that the way people see you does matter. I’m still figuring out the juggling act. I don’t censor myself too much and I’m not perfect but it makes you realize that your high school art teacher was a human and made mistakes too. I’m taking a year off to make some other things happen but I love the connection I have with my students and I have a great time not answering any specific questions about tattooing. My go to answer when they want to know about machines or anything else is always find somebody to apprentice you when you graduate, I’m just here to help you draw.

From kowing you over the years, can safely sy that i dont see much of your own personal sufferings reflected in your art. Do you feel this ommission is intentional? Are you the type of artist who produces more or less when life becomes a bit of a struggle?

There is a lot of personal struggle in my work but I don’t like the be too literal about it. I think it’s more apparent in the hanged man series but that was still more about the struggles my family went through to get me here.
There are issues in my life I plan to work on in the future, art is very therapeutic for me, as for any artist I’m sure. I feel like I can be more honest as I get older. I am learning to juggle things better I think. I want to do personal stuff but I also want to do things like learn more about figurative shadows in oils just because it would be satisfying and I love painting. I like things to have a sense of humor too. My last series was pin up girls with ankle monitors on called “house arrest.” If I ever get my website updated I’ll put those on. I guess if I ever stop struggling I’ll know if it’s harder to create.

Im sure many young or new artists would like to hear your thoughts regarding getting a 4 year art degree. Do you think its helped you as an artist or hindered you in any way?

Because of choices I’ve made my 4 year art degree took over 10. I started college as a writing major and was offered a shop apprenticeship at bound by design at the same time. I loved to draw but didn’t have the drawing skills or confidence I needed to tattoo so I switched my major to art. I might do some things differently now but it was cool being in both of those environments at once. I was fortunate, and still am, to be around amazing artists every day. Some of the artists I admire have MFAs and some of them never saw the inside of their locker in high school. School opened up amazing opportunities for me, introduced me to teachers and peers that have been instrumental to me, and gave me skills i needed. It took a lot of time away from my family that I don’t get back too. I do well in that environment because of my learning style, there is no substitute for just opening a book or picking up a pencil, you don’t have to go to college for that but it helped me quite a bit. Don’t take out nine million dollars in loans to get an art degree so you can make money though, save your cash for lottery tickets.

Your works are all over the board in so far as medium. Do you hve any particular ones that you enjoy?

Oils and tattooing are my favorites. I do a lot of watercolor and ink which I think I’m better at but oils are my favorite to work with. My favorite thing is to put on some horror movies, have a cocktail and get out the liquin and terp. I like to be well versed enough in multiple mediums that I can pick the one I want to get the idea of the work across the best. The only downside to switching around so much is that I don’t spend as much time on one technique and it takes longer to get proficient. But I got time and It keeps me from getting burned out too.

You have until reently been involved with a local co-op gallery. As an artist, do you recommend this as a good option for artists wanting to estblish themselves a bit before moving on to traditional gallery representation?

I’m still with the Boxcar gallery. It has been a great experience overall. Exposure is important and getting your art on the walls is important, at least for me. A co-op gallery is cool because you do everything from advertisement to installation. It is a big commitment and if you don’t care about being a part of the ins and outs of everything it might not be for you. The right co-op can help knock some of the jitters out of showing your work. With the exposure you can create on the Internet now people can see your work in japan by way of Denver if you want. I still think there is something to be said for the gallery environment though. Something I’m trying to get better at is creating work for fun instead of a deadline. There have been times when I wanted more time to work out an idea and the deadlines can hurt too. I am trying to worry less about my resume and more about my work. It’s hard to balance the professional side with the creative but art is a job when there’s mouths to feed. I know that co-ops are synonymous with emerging artists and that’s fair. I also know artists that have chosen to stick with them instead of seeking commercial representation. Often with commercial galleries there are no compete clauses that I don’t have to deal with. At the same time the commercial galleries offer things a co-op can’t sometimes like finding a clientele for you so it’s a decision every artist has to make for themselves based on the quality of their work and what is available to them. I also know many people that don’t have “gallery representation” at all that do very well for themselves showing their work due to a little determination and common sense.

For as long as ive kown you youve had ten things on your plate and your fingers in ten pies. What can e expect to see from you in the next 5 to 10 years?

I wish I could say. School took me a long time and at least for a few months I just want to paint and tattoo. I think developing a stronger Internet presence will help the cause. I love Denver but my goal is at least one show out of state a year. If nothing else just as an excuse to travel a little. Grad school is a possibility and I could see teaching as a serious part of my future but it has to be the right fit. I don’t want to do it just to be in a holding pattern for two more years. I’m also looking into some local residency programs. I have two beautiful daughters, a great 10 year old girl compliments of my fiancé, a female snake, female cat and a gecko were not sure about yet so I think a pet with testicles is a must in my near future before I start to menstruate. Thanks for all the opportunities you have created and all the advice and support over the years amigo! PHS!

Artist statementIan Rumley is a painter, teacher and tattoo artist at Bound by Design in Denver CO where he was born and raised. Ian graduated from the Metropolitan state college of Denver with a BFA in 2011.

For this painting I chose burnt sienna and vandyke brown for my color palette. I started by tracing over the top of my reference on spirit paper. I do this the same way I would for a tattoo. I use a ballpoint pen to get my hard edges and a #2 pencil to get my values. After the image has been traced I will import the stencil into photoshop so the image can be mirrored. I print the image and project it to the canvas by drawing with a red prismacolor col-erase color pencil. I will either use a red or a blue color pencil depending if my over all look will be warm or cold. Once I have traced my stencil on the canvas I will start painting. Using only burnt sienna I load my paintbrush and then wipe it off on a paper towel before I hit the canvas with it. I start by blocking in my shapes and values staying away from my highlight areas. I will use a kneaded eraser to lift up paint in the highlight areas where needed. I typically scrub my brushes to apply the paint trying to only tint the canvas. This usually ruins my paint brushes after a couple of paintings. But its a small price to pay. I continue only using burnt sienna until the entire image is blocked in and looks done. I will then start using the vandyke brown to get my deep values and shadowed areas in place. I will use a one inch or two inch brush to get large smooth gradients and to sweep over some of my highlights staying away from the strongest highlights. I try to tint the whole canvas with paint except the strong highlight areas.

Born in 1983 and raised in Phoenix Arizona. I have been tattooing professionally since 2005. Self taught, I have been influenced by people like Jeff Gogue, Nikko Hurtado, Paul Acker, Joe Capobianco, Basil Gogo, Andrew Gonzalez, Guy Aitchison, Aaron Cain, and Derek Noble. I have had the privilege to be guided by fellow artists who have helped me throughout the years. I am always striving to create dynamically creative and refined work. I definitely enjoy creating more of a surrealistic style of art with a darker look. If I am not tattooing then you will find me promoting, painting, drawing, or 3d sculpting. I have spent my whole life dedicated to studying art. I have put all my time and effort and money into the technical aspect of art and tattooing from the beginning and will keep doing so until the day i die…..

“My name is Kans89 or plain and simple just Kans. My name took on many different changes asmy career progressed but the artist behind it has always remained the same. I am a graffiti artist bornand raised in Denver, CO. Born on April 11, 1989 hints at career in the world of art would sprout hereand there during my early years as a toddler and adolescent. I can remember drawing all the time andbeing really creative with any problem that came my way. As drawing came naturally I never took artseriously until I discovered the world of graffiti .

Walking along my normal path to school, I used to pass these walls painted top to bottom incolorful graffiti. I stopped and admired the work just about every day as they were always changingwhen finally, one day the owner of the building approached me. He said “Hey I see you around herea lot, do you paint?” Now at this time I had never even picked up a spray can so I lied and said “Yeahman I actually do”. He then replied “Well hey I need some new color, are you interested in painting?” Iresponded with a quick “FUCK YEAH!!!” I was about 15 at that time and so my journey began.

Those walls were located in an alley way on 8th and Inca in Denver, CO, they were like home tome. Every chance I had I would be there painting. Thanks to that opportunity I fell in love with graffitiart and knew that’s what I wanted to do for the rest of my life. When I picked up the can for the firsttime I had no idea that it would have such a positive impact on my life as well as take me on the ride Ihave been on thus far.

I started out just painting my name over and over again, trying different technique and styles.Every ounce of creative energy went into graffiti whether it be sketching, research, learning the historyor actually painting. You can probably say it was an obsession. Letters were my first priority and fromthere letters turned into characters and figures with the old school bboy flavor and from there went tomore graphic themes and style. I was painting for about 3 years when I finally got my first commissionand as I got more commissions and progressed stylistically I realized it was time to pursue a professionalcareer. I then worked with some friends of mine (Wiser and Lemon) to form a custom graffiti company(Ynig.com). The company has been in business for about 6 years and has sprouted many other venturesduring the course of its life.

As a professional my career is still in its infancy but so far a lot has been accomplished. I wasamongst the first graffiti artists in the city of Denver to be commissioned by the city for a public artpiece. I currently work for Strange Music as a graphic designer which I have been doing for about twoyears now as well as work for myself as a free lance muralist. On top of all that I am currently workingon a BA in fine art with a concentration in painting.

Graffiti is my main love within art, its my passion and my priority. With that being saidits what I pride myself on but I am definitely not limited to that. My work almost always shows mygraffiti art roots and style but when it comes down to representations and or meanings it is prettysimple. I try and document my emotion through my art in some way. You can look at a lot of my workand picture in some way what I was feeling or what I was trying to express at that particular point intime. I have found that doing this has kept me sane for all of these years. This is the reason I love graffitiso much, you can show every bit of emotion through line, color, composition and shape so well without having an obvious image of it. As far as being satisfied with my work, after completing a new piece I am satisfied with it for about a day. I am always trying to find something to fix and something to improve on. That is to me what makes a great artist and that is what I aspire to do. In a field like mines even when you are finished there is always one more thing to do so with having said that I don’t think I will ever be totally satisfied with my work but I will climb everyday to always improve. That is what defines me as an artist…IMPROVEMENT.

Graffiti in so many ways has changed my life. It has taught me things you just cant learn fromanything else, it teaches to be reliant on ones self, it teaches to never take no for an answer and mostimportantly it reveals your true spirit and soul. As cliché as that sounds it is very true. I had no clue onwhat I wanted to do or what my life meant until I was introduced to graff. I will always paint graffiti untilmy last breathe but it has opened so many other doors in which I will pass through.”

[as interviewed by Ian Robert McKown 8.5.2012]

I know a lot of us who are unfamiliar with the graffiti world and rely largely on how its portrayed in the media have this idea that it can be a somewhat territorial and even a bit physically dangerous when it comes to putting up ones work. Any truth to that? Have you even had any tight situations

There is definitely truth to that stereotype. There is a very very fine line between graffiti art and gang graffiti. To the general public or people who have no knowledge of graffiti as an art form, distinguishing what those are is very difficult. To them it all is gang related. Generally only gang graffiti is truly territorial because the point of gang graff is to define the occupying gangs turf whereas the aims of a graffiti artist or bomber is to be seen everywhere possible. Painting in certain areas can definitely be dangerous for graffiti artist’s. If you aren’t from the neighborhood you are painting in that’s occupied by a gang you then run the risk of offending that gang which can potentially become violent. I really hate to expose that side of things but its truthful . Some gangs make no distinction from graff bomber to gang member, if you are not part of their gang and are painting on their turf they will check you. As for me and being in any situation of this nature it has never happened. Denver for the most part is pretty chill as far as these problems go but it is still a possibility.

I know that at least in Denver there are quite a few “free walls” where painters are encouraged to do bigger pieces without worrying about the legalities of working on random walls. Has Denver always been like this? I remember a friend telling me that you weren’t anybody until you’d been arrested for putting up work? How about you, any scrapes with the law?

Denver has always had places to paint legally from what I can remember keeping in mind ive only been on the scene for about 8 years. The most famous spot were the walls on 8th and Inca. That is where I painted my first piece and it was responsible for the birth of my career, anyone who is anyone on the Denver scene has painted that wall as well as legends (Cope2, Tlok, Emit, East, Koze just to name a few). That wall has unfortunately been shut down but there are new walls being born. There are huge walls off of Acoma and Jewell that are constantly being painted as well. I know Boulder has a few as well as Longmont. The theory that you’re not any one unless you get arrested is a bit edgy. I think your more notorious for not being caught and I think all writers would agree that you pride yourself on being wanted and not caught as opposed to being caught. So I guess to re-word that it is more like “Your not anyone unless you are wanted” even then that is still sketchy because now a days you don’t have to bomb to become famous. Just show dedication and a passion for your work. Ive been chased numerous times as a youngin by both civilians and police, I have yet to be caught. Being that I paint legally now I don’t think ill ever be caught for graffiti. I don’t consider myself a graffiti bomber as much as I consider myself as a graffiti artist.

There seem to be quite a few painters who have found some mainstream popularity. What do you think this is attributed to, and do you think its in any way watering down a previously low-brow art form?

Yes there are quite a few graff artist who can be considered mainstream heavy hitters. I think the reason for this is persistence as with anything. Well I guess a bit of persistence and luck. I don’t like knocking anyone who has “made it” but in some cases I think it is more about the people you know and who co-signs for you as opposed to the work you do and how well it is done. It is a very sad thing but a common occurrence in the art world. Don’t get me wrong though, there are definitely artists who have made it who completely deserve to have the fame they have because their work is absolutely amazing. I don’t think that it is in any way watering down our art form, I think it actually helps it. When a commercial artist does work and exposes graffiti art in a positive light it then makes it less intimidating to the general public which results in more opportunities for artists of our nature.

Along the same lines, in tattooing we are seeing mainstream media and fashion taking traditionally tattoo related designs for their own merch and products and it seems to be similar for graffiti designs. Any thoughts on this? Do you feel its a good thing for painters?

I think graffiti on merch and other products also helps the art form and artist’s because it creates job opportunities for artists as well as being able to own the art of your favorite artists without spending an arm and a leg. Many street wear clothing lines use and sponsor authentic graffiti artists which is why I think it isn’t a big deal. Now if clothing companies were to take graffiti artists work and printing it on shirts without consent or trying to replicate it by non graffiti artists then it would be a problem.

I know from some of our discussions that in working to get your BFA you’ve been exposed to and had to work with a few different mediums. How are you finding working outside of your comfort zone? Which ones are you gravitated toward and which ones did you have the most trouble with.

I think working outside your comfort zone is beneficial to any artist. It pushes you to explore and can possibly open a door that never would have opened if not for stepping outside the box. I have worked with sculpture, oils, acrylic, collage, print making, as well as watercolor. I have particularly been gravitated towards oil painting. I love that medium, it is a good release and break from spray paint. It gives me an opportunity to paint in a very different way from graffiti. The medium I have struggled with the most is watercolor. The reason being is because the technique of painting with it is completely opposite from how I paint and it is not opaque enough for my taste haha.

Have you found that your approach to graffiti has changed now that youre working with more traditional mediums?

My approach to graffiti now with knowledge of other mediums has definitely changed. I feel like I have more ammunition supplied by other mediums to attack a wall with. Not in a sense of me using oil paint or collage on a wall but in a sense of subject matter. I almost would love to do still lives that were traditionally done in oils on a wall with spray paint. Working with other mediums has broadened my ideas on what I would like to paint in a graffiti style. However I would never let graffiti bleed into oil painting. I think it loses potency when you confine graff to a canvas. Graff was meant to be in the wild not in captivity.

I know that you’ve had some success with public works projects. How do you approach those projects, and what it it like dealing with people who have little or no experience with muralists?

With a public work commission it is a very long painful process. There are call for entries, some to whomever and some by invitation only. You typically write a statement of interest and you are then considered depending on if you are a good candidate for the project you apply for. After this if you are considered you are then “short listed” which means you are up against a small number of other considered artists. You will then be required to come up with a concept and presentation which then will decide if you get the job. Working with people who have no experience with muralist is sometimes hard but mostly pretty easy. I say its sometimes hard because clients can be pretty “set in stone” on what they want even if it makes no sense artistically. It is difficult telling them their ideas wont serve for an aesthetically pleasing piece.

If I’m not mistaken, you’ve taught art to some youth groups. Can you tell us a bit about that? What hurdles have you had to overcome when it comes to teaching what has become second nature to you?

Yes I have taught with my business partner Keith White at numerous public libraries as well as recreation centers and schools. I taught part time at Lake Middle School for an after school mural program. Teaching graff to kids who actually want to be there and learn is very satisfying. Most of the time art programs have been obsolete from school curriculums in inner-city schools which is very sad. I pride myself on being able to provide under-privileged kids with a chance to explore an art form which has been a part of their lives for so long. It gives meaning to why I do this type of art and gives me a chance to give back to a community in which I came from. Some big obstacles to overcome when teaching graff is getting the kids to understand that graff isn’t just about bombing and vandalism. Its hard when students take the info and knowledge I give them and destroy their own community with it.

I know a lot of people are aware that you’re a merch designer for at least one top name in the music industry. Any names youd care to drop? Whats that been like?

I have been a merch designer for Tech N9ne and his label Strange Music (the number one independent rap label in the world) for about two years now. Working with Tech has been a wild ride being that he is one of my favorite mc’s and has become a personal friend of mine. I never would have thought I would be doing what I am doing because of graffiti! Obviously I have done work for Tech but also just about every other artist which is on the label (Krizz Kaliko, Kutt Calhoun, Brotha Lynch Hung etc.) I have also done work for former Broncos wide receiver Brandon Marshal.

Where do you see yourself in the next 5-10 year? I know youre really driven and I’m certain you’ve set your sights high. What can we expect from you?

In the next 5-10 years I see myself as a staple of Denver graffiti and hopefully an icon of graffiti itself. This is a really high standard but im hungry enough to do it! My drive to do this has been untamed and I wont stop until I get it!!! I also see myself owning a gallery of some kind I am still unclear on what that might be. Also I definitely want to travel the world and paint, leave my mark on as much of the globe as I can. You can always expect to see me producing graffiti but you can definitely expect to see tons of exhibitions from Kans89 in the fine art realm! I don’t want to sound cliché but I would like to conclude this interview with this…Any young people who aspire to be an artist of any kind, don’t let anyone ever tell you that you cant do something. Art is what you feel and in many ways what defines you, don’t ever sensor yourself or hold anything back. If you have a message to convey then get that message across in the medium that best fits you!!! Most importantly don’t let money be a motivator behind your work…you wont last long. Ian thanks for this opportunity, it means a lot coming from an artist who I deem as one of the best!!! Much love!!!

Late last year I was working with a friend (Kyle Allen Grover) who was using liquid acrylic inks on illustration board to paint American-Traditional tattoo designs. I was impressed with their versatility whether used straight from the bottle or thinned down to be used as a wash so I figured I’d give them a try.

For this owl painting I used J.W. Rowley Burnt Umber ink, Talens Drawing ink and a bit of thinned out copic white for the highlights. For the surface I used 110lb cold pressed illustration board made by Crescent. I used two different sized water color brushes for the owl (one for the larger areas, one for finer detail) and a fine tipped brush for adding small hints of white.

For my initial lay-in I usually thin down a bit of my mail color and do a wash across the surface. I dislike working on while surfaces ad I feel its harder for the eye to accurately judge value relationships; darks will always appear too dark and colors will always appear too bright. I used a large sponge brush to apply the wash, and a bit of paper towel to keep it even and not oversaturating the board. If you get the surface too wet it will tend to buckle. For reference, the size of the piece is 30×40″.

After this dried I scrubbed a bit of charcoal across the back of my reference, flipped it over and lightly traces the major shapes onto the board. Its important to not use graphite as it can and will show through subsequent layers of ink or paint. Its also important to only trace out as much as you need. trying to trace every value shift and shape will muddy your overall composition and make it impossible for the piece to have any originality or flavor.

I’d also like to stress that you will get a richer color, with fewer dry margins if you layer your ink slowly, with varying strengths over time. simply applying what you think is the right value in one go will make your work patchy and will make transitioning areas a lot harder. I usually work with 3-5 different strengths, the lightest one being just a bit stronger than my background tint. Another not of caution would be to not let too much ink sit on the brush. I have a habit of lightly dragging a freshly dipped brush across a paper towel, you dont want he ink to sit on the surface too long without penetrating.

After deciding that everything was in place, I began with the first area. keep in mind this painting took over 30 hours to complete, with each area being painted several times to get just the right amount of detail.

In this picture you can see that the amount of detail in the tracing isnt too great. This initial sitting took something like 3 hours. Most areas of this piece took several sittings each to get the best feel. compare this to the next shot, or even the final above and you can see how much richness is acheived if youre willing to take the time.

Went back into the wing again, worked on the head and body and started to work on the other wing.

Worked back into the tail and body and added some more to the wing

Getting close to donezo here. You can see that nearly every step I went back into previous areas and usually added more mids and darks. The final step is to add actual blacks in the darkest areas and add some white highlights. I also went into the background to give it a bit of a darker feel and some vertical elements to suggest trees.

All finished. Owl. 30×40″ Ink on Illustration board. I usually varnish with a spray matte finish. Thanks for taking the time to read and look.